Audiophile Audition
The origins of folk music are vast and wildly diverse. There are connections to classical music, (Corelli, Haydn, Beethoven), traditional English poets (John Dowling), Finnish, Celtic, American roots and many countries from both hemispheres. At different times in the culture, there have been resurrections of these genres (the Seegers, Woody Guthrie in America and bands like Fairport Convention, Pentangle, Steeleye Span and The Chieftans in Europe). The musicians distill the essence of the songs in a modern socio-political context. There is also a profound desire to capture the aesthetic purity as traditional instrumentation graces the arrangements. Like American blues, listeners are re-introduced to folk music, and the festival circuit continues to thrive.
A group by the name of Ayreheart has released a compelling audiophile recording of this material, Barley Moon. In keeping with authenticity, the album is framed by a pair of lutes with Irish tenor vocals. The opening track is one of the most โpopularizedโ folk songs of any era, โJohn Barleycornโ. Many listeners will be familiar with the version by the rock band Traffic off the album of the same name. Brian Kay brings the weird tale of brewery to focus with his winsome voice. He is joined on lute by Ronn McFarlane, Willard Morris (on a sort of bass lute called colascione) and percussionist Mattias Rucht. This version is lively and emotional. With an awareness of traditional structure, the romantic ode โIn A Garden So Greenโ (which dates back to Scotland in 1682) has the lyrical, droning resonance. The lute play is prominent. The instrumental prowess of the band is showcased on โMr. Dowlandโs Midnightโ
The influences and darker narrative of Dowland are a significant part of this folk music. โFortune My Foeโ captures the sorrowful tone. But itโs not all darkness. On โMy Ladyโs Hunsdon Puffeโ there is a playful dance arrangement. There is a sense of historical context on โHenry Martynโ. The tale of Scottish โprivateerโ Sir Andrew Barton is evocative and demonstrates great storytelling. (The liner notes indicate that Burl Ives and Donovan have recorded this). The lute play is rhythmic and executed with forceful strokes. Historical connections are everywhere, from the mournful โLully Lulleโ to the finale โNottamun Townโ (which has been recorded by Fairport Convention and modernized by Bob Dylan on โMasters Of Warโ). The back-to-back instrumental pieces โSolus Cum Solaโ, M George Whitehead, His Almande) : are thoughtful and feature the acoustic verve of the band. But Ayreheart inevitably return to the doleful themes on โTwa Corbiesโ (which was also recorded by Steeleye Span).
Barleycorn is a masterful achievement. The mix is vibrant and expansive, without losing any of the instrumental precision. The lutes have a rich, natural reverberation. Traditional folk music with a hi-res boost. This is a worthy sonic upgrade to traditional music!
Robbie Gerson of Audiophile Audition
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